December 5 - 23, 2007
| Production Designed & Directed by JOE CASCONE |
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Broadway's legendary composer, Meredith Willson, of THE MUSIC MAN and THE UNSINKABLE MOLLY BROWN also gave us an equally charming version of this holiday classic which introduced the standard "It's Beginning to Look a Lot Like Christmas." Don't miss this truly delightful holiday treat about a department store Santa whole family - and don't be surprised if you wind up whole family - and don't be surprised if you wind up becoming a believer, too!becoming a believer, too! |
| CAST in order of appearance |
BOB DEUTSCH
DAVID HAINES
LISA MALCOLM
EMMA BURKE-KLEINMAN
LLOYD DEAN
BLAIN BERDAN
LOUISE CASCONE
LARRY GIBBS
MICHAEL YANEFF
COREY HAFEZI
JOE CASCONE
ALLAN ASHBY
ANDREA STRAYER
PATTI BYRNE
VINCE CASCONE
STEPHANIE DOUGLAS
TORIA GIBBS
SANDI HORWITZ
CASILDA JOSEPH
GARY PRUDENCE
KATIE RICHARDSON
KELLY SANDERS
SUSAN SANDERS
JAKE BURKE-KLEINMAN
CONNOR CARROTHERS
DEAN DEFFETT
ANDREW LONG
JILL O'CRAVEN
OLIVIA STUPKA
LILLY TAYLOR
MADDY THEODORLIS
DANA WHITELAW
DAVID HAINES
LISA MALCOLM
EMMA BURKE-KLEINMAN
LLOYD DEAN
BLAIN BERDAN
LOUISE CASCONE
LARRY GIBBS
MICHAEL YANEFF
COREY HAFEZI
JOE CASCONE
ALLAN ASHBY
ANDREA STRAYER
PATTI BYRNE
VINCE CASCONE
STEPHANIE DOUGLAS
TORIA GIBBS
SANDI HORWITZ
CASILDA JOSEPH
GARY PRUDENCE
KATIE RICHARDSON
KELLY SANDERS
SUSAN SANDERS
JAKE BURKE-KLEINMAN
CONNOR CARROTHERS
DEAN DEFFETT
ANDREW LONG
JILL O'CRAVEN
OLIVIA STUPKA
LILLY TAYLOR
MADDY THEODORLIS
DANA WHITELAW
| Fred Gaily Kris Kringle Marvin Shellhammer Doris Walker Susan Walker R. H. Macy Tammany O'Halloran Thomas Mara Alvin Whitey Climber Mr. Psawyer Vendor/Policeman Santa's Helper Mrs. Finfer Bad Santa/Mayor/Bailiff Santa's Helper Santa's Helper Nurse Sims Foster Mother Governor/Mailman Majorette Santa's Helper Miss Crookshank Kids' Ensemble |
| Choreographed by Musical Direction by Stage Managed by Lighting Design by Costumes |
December 12, 2007
Theatre review by Mark Andrew Lawrence
Over the years, Joe Cascone of the Civic Light Opera Company has frequently demonstrated his ability to take failed musicals and re-
conceptualize them into entertaining productions. He has worked that magic again with their joyously festive production of Meredith
Willson’s Here’s Love.
Based on the classic film Miracle on 34th Street, this show was not a success on Broadway in 1963, mainly because it missed much of
the charm of the original screenplay by Valentine Davies and George Seaton. The most memorable tune in the show was “It’s Beginning
to Look a Lot Like Christmas”, which Willson had actually written a decade earlier.
According to the program Bob Deutsch is playing Kris Kringle but by the end of the show you too will believe he is the one and only
Santa Claus. He quickly establishes a wonderful grandfatherly rapport with Emma Burke-Kleinman playing the skeptical little girl, Susan
Walker. It is her growing faith in Kris Kringle that drives the narrative, and her believable performance makes it work.
Lisa Malcolm is Doris Walker, Susan’s firm but loving mother determined to banish all romantic notions from their lives. She has a
lovely singing voice [and] the same is true of Bryan Chamberlain appearing opposite her as the ex-marine-turned-lawyer, Fred Gaily.
Chamberlain sings well and is provided great support by his three marine pals, played by Michael Yaneff, Garth Johnston and Corey
Hafezi. The show also benefits from appearances of Louise Cascone as the Judge with the unenviable task of declaring the existence of
Santa Claus, Blain Berdan as her political sidekick, Tammany, and David Haines as Macy's toy-department buyer Shellhammer. Their
enthusiasm helps sell the second act showstopper "My State, My Kansas.” Here is an example of the performers taking a rather
mediocre song that is totally irrelevant to the plot. And making it work.
The ensemble in the opening Parade sequence could use this kind of fervor to show us just how excited they are becoming as Santa
Claus approaches. They do rise to the occasion nicely as the show progresses offering a dream ballet to conclude the first act that is a
whirl of colourful animation. Credit Sheila Lacasse’s imaginative costumes and the dancing by the children choreographed by Larry
Westlake.
Here’s Love is strongest when it adheres to the original story. The swift staging and pleasant tunes help compensate when the book
falters and, the result is enjoyable holiday fare for the whole family.
Theatre review by Mark Andrew Lawrence
Over the years, Joe Cascone of the Civic Light Opera Company has frequently demonstrated his ability to take failed musicals and re-
conceptualize them into entertaining productions. He has worked that magic again with their joyously festive production of Meredith
Willson’s Here’s Love.
Based on the classic film Miracle on 34th Street, this show was not a success on Broadway in 1963, mainly because it missed much of
the charm of the original screenplay by Valentine Davies and George Seaton. The most memorable tune in the show was “It’s Beginning
to Look a Lot Like Christmas”, which Willson had actually written a decade earlier.
According to the program Bob Deutsch is playing Kris Kringle but by the end of the show you too will believe he is the one and only
Santa Claus. He quickly establishes a wonderful grandfatherly rapport with Emma Burke-Kleinman playing the skeptical little girl, Susan
Walker. It is her growing faith in Kris Kringle that drives the narrative, and her believable performance makes it work.
Lisa Malcolm is Doris Walker, Susan’s firm but loving mother determined to banish all romantic notions from their lives. She has a
lovely singing voice [and] the same is true of Bryan Chamberlain appearing opposite her as the ex-marine-turned-lawyer, Fred Gaily.
Chamberlain sings well and is provided great support by his three marine pals, played by Michael Yaneff, Garth Johnston and Corey
Hafezi. The show also benefits from appearances of Louise Cascone as the Judge with the unenviable task of declaring the existence of
Santa Claus, Blain Berdan as her political sidekick, Tammany, and David Haines as Macy's toy-department buyer Shellhammer. Their
enthusiasm helps sell the second act showstopper "My State, My Kansas.” Here is an example of the performers taking a rather
mediocre song that is totally irrelevant to the plot. And making it work.
The ensemble in the opening Parade sequence could use this kind of fervor to show us just how excited they are becoming as Santa
Claus approaches. They do rise to the occasion nicely as the show progresses offering a dream ballet to conclude the first act that is a
whirl of colourful animation. Credit Sheila Lacasse’s imaginative costumes and the dancing by the children choreographed by Larry
Westlake.
Here’s Love is strongest when it adheres to the original story. The swift staging and pleasant tunes help compensate when the book
falters and, the result is enjoyable holiday fare for the whole family.